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SOUND PRODUCTION AND REPRODUCTION MANAGEMENT IN NIGERIA MUSIC INDUSTRY



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SOUND PRODUCTION AND REPRODUCTION MANAGEMENT IN NIGERIA MUSIC INDUSTRY



CHAPTER ONE

1.1.         INTRODUCTION

Music is a general phenomenon that cuts across racial, cultural, social, educational, and economic barriers, which enhances cultural appreciation and awareness. Its symbol systems are important as letters and numbers. Music integrates mind, body, and spirit as well as provides opportunities for self-expression, bringing the inner world into the outer world of concrete reality, which in turn offers the avenue to "flow states" and peak experiences. It also creates a seamless connection between motivation, instruction, assessment, and practical application leading to "deep understanding." .Also Music  makes it possible to experience processes from beginning to end, develop both independence, collaboration and thereby provide immediate feedback and opportunities for reflection. It makes it possible to use personal strengths in meaningful ways and to bring into understanding sometimes difficult abstractions through these strengths. It merges the learning of process and content thus improving academic achievement which results in enhancing test scores, attitudes, social skills, critical and creative thinking. Music exercises and develops higher order thinking skills including analysis, synthesis, evaluation, and "problem-finding." It is essential component of any alternative assessment program which provides the means for every worker to learn. This chapter focuses on the background of the study, Aims and objectives, Statement of the problems, Significance of the study, Research questions, Research hypothesis, Limitation, Scope of the study, Purpose of the study, Significant of the study and Definition of terms.

 

 

 

 

 

 

 

1.2.         BACKGROUND OF THE STUDY

The Music industry (also informally known as Music business management) consists of a large number of sub-Industries devoted to Music  production and its eventual management.  However, the term is often used in the mass media to describe companies that control the manufacture and distribution of Music as a form of entertainment.  In the popular parlance, the term show biz in particular connotes the commercially popular performing arts, especially Music al, theatre, vaudeville, comedy, film and music.  It applies to every aspect of entertainment including cinema, television, radio, theatre and music. (Ekwuazi, 1987)

The music industry in Nigeria today is a versatile one.  It is a big industry that transcends Music , with the involvement of trained lawyers, businessmen, financial analysts, actors and actresses, Music ians, songwriters, bankers, etc.  The question is: what really makes a music industry?  It is very difficult to really define or describe; but, the general definition will include music production, music advertising and Music  publishing. It also involves talent deals, production deals, writing deals, gross and net participation of proceeds (not profits) multisystem operators (MSOs), e.g. DSTV, HITV, GOTV, STARTIMES and other cable network Television stations.  All these are what make it an industry, because everything about entertainment is like the ‘real estate’, with full proprietary rights.  Entertainment industry in Nigeria is a fast growing one, with many opportunities springing up for budding entrepreneurs, artists and their managers as well as other stakeholders; it is estimated to generate revenues of over #2 billion annually.  It spans movie, film and music production, comedy and events management, modeling and beauty pageantry, among others. Prior to 1998, the entertainment industry in Nigeria was very modest; with musician s, actors and models being satisfied with just fame, and with very little interests from investors.

In many parts of the world, the development of entertainment coincided with the creation of a ruling class.  In the early advanced cultures with clearly differentiated working roles, leisure activities were associated with those in the elite class or of high political standing. In Nigeria, generally, all sectors within the entertainment industry exhibits similar historical characteristics including high capitalization, advanced intellectual property protection requirements, globalization and oligopolistic tendencies.

The emergence of the recording industry in Nigeria has helped the musical situation in Nigeria. The Nigerian music  recording industry was dated back to the early 1930s, but then there were outfits from South Africa, Johannesburg to be precise, which used to come to Nigeria to record artists on Opika records of the early 1950s (Adekogbe, 2010). Initially, the recording industry in Nigeria was dominated by Western oriented record companies. then, all the record companies were in actual fact, puppet studios of big mother companies somewhere in Europe or America. The first record to be waxed in Nigeria was Juju Music  around 1933, though the artist was not known but history revealed that was the first record to be waxed in the Nigeria Music  recording industry. According to King Sunny Ade, a renowned Juju artist who visited Obafemi Awolowo University, Ife recently has this to say.

It was unclear and very uncertain whether the recording of the said

Music  was done in Nigeria or not”

.

Mike Adesina, the director of A.M. Digital recording studio, Ibadan said authoritatively that:

“The first Music  was recorded at Philip West Africa limited titled ‘catch your Rhythm’ by Bobby Benson, Hanny J.A. Oyesiku, T.O. Araba and Chris Ajilo, which was first released as singles before being compiled to Long Playing (L.P)”.

 

Then, most recording companies acted as umpires for Africa, especially Nigerian Music al bid to global penetration. The Western partners who controlled these companies became lords deciding when and how Nigerian Music  could be exported, even Philips, Decca EMI, PolyGram etc. who were in business could not confront the Western exploits but to assist them to supervise and evolve the best ways of exploiting the art in Nigeria  (Adesiya 2001).  There were other groups like Shanuolu Record Company and Take you choice (TYC), these two particularly, Chief Abioro Bolarinwa’s TYC realize early enough the potentials of the Nigerian rhythm in the international market. Saw the possibilities of Nigerian rhythm controlling and dominating the world entertainment market. This reaction could have been possible but what he lacked was the technical knowhow on the means to achieve the goals. They were also little informed about the politics of the type of fight needed to turn the tables.

          This era also witnessed an amazing increase in the number of record companies. Tabansi came, Mut-Mukson, Alhaji Kassim’s brain child also came, not with big ideas, to change the scene. It was also an era when the first genuine efforts were made at indigenizing the recording industry in Nigeria. Interestingly to record companies and business particularly in Nigeria moved into the interior and gave rise to names like Haruna Ishola of Phonodisk, Rogers international and a dozen of others (Adekogbe, 2010). The irony of this era was that it brought in a chain of private recording companies which thwarted all efforts made by both genuine record companies and artists (Adesina 2000). In the present millennium, a new based of Music  recording studios especially, digitally oriented studios which are well and quite informed about the game in the international Music  market. This new generation have fought and still fighting on to transform the Music al concept in Nigerian to the level of the modern age especially in the area of Music  technology as obtained in other advanced nations in the world.

The development of computer and the subsequent application to Music  synthesis, sampling recording, sequencing, storage, playback and performance are important and influential development in the activities of the Nigerian Music  Industry technology in the twentieth century.

1.3.         AIMS AND OBJECTIVES

The following are objectives of the research project:

a.     To describe the characteristics of Musical sounds.

b.     To practice and evaluate performance skills alone and in groups.

c.      To analyze and response to complex Music al sound through movement.

d.     To perform Music al reading from both traditional and nontraditional notation.

The aim of the research is to assemble, operate and maintain technical equipment used to record, amplify, enhance, mix or reproduce sound in Music industry.

1.4.         STATEMENT OF THE PROBLEMS

The use of technology in the Music curriculum poses a problem for the educator: how can workers gain access to support when using complex tools in creative work, and what is the nature of the problems they are encountering? Software packages such as Cubase and Pro Tools offer support in the form of online help and minimal manuals embedded within the software; however, little help is provided beyond the procedural knowledge (Anderson 1996) concerned with these tools. In addition, support for the use of hardware recording devices such as mixing desks, signal processors (noise gates, compressors) and signal generators (reverb, delay, chorus etc) usually relies upon either the worker’s ability to take effective notes in a workshop, or the use of manuals. These hardware recording devices are often used by audio professionals and the manuals are written for this particular audience, and this can present a problem for the worker of Music and technology.

1.5.         SIGNIFICANCE OF THE STUDY

The significant of the study is to bring a proper coordination among various factors of production and leads to their optimum utilization. It avoids confusion, duplication and delays in work. It motivates the workers of Music  industry by proper division of work and labor. It reduces the workload of executives by delegation of authority.

1.6.         RESEARCH QUESTIONS

a.      What is the level of Music contribution towards worker’s performance in Music and management?

b.     What are the qualities that make up a good Music?

c.      Is there any significant relationship of analyzing and responding to complex Music al sound through movement?

d.     Is there any difference of performing Music al reading from both traditional and nontraditional notation?

 

1.7.         RESEARCH HYPOTHESIS

e.     There is no significant difference between the music and reproduction management in Nigeria Music  industry?

f.       There is no significant relationship that evaluates performance skills alone and in groups?

g.     There is no significant relationship of analyzing and responding to complex Music al sound through movement?

h.     There is no difference of performing Music al reading from both traditional and nontraditional notation?

 

 

 

1.8.         LIMITATION

This research work is limited only to the project topic titled “Music and reproduction management in Nigeria Music industry”. All academic work are carried out within the research.

1.9.         SCOPE OF THE STUDY

The scope of the research work will cover all the areas of music, sound reproduction, sound management, the restrictions in Music and copyright laws, the problems of sound management and production.

1.10.    PURPOSE OF THE STUDY

The main purpose of this research work is to investigate how sounds are produced, reproduce and managed in Music industry.

1.12.    DEFINITION OF TERMS

1. Sound Production: Conversion of energy from mechanical or electrical into acoustical form, as in a siren or loudspeaker. The music industry is blessed with talented music producers who have taken the industry to new heights with their sound production.

2. Sound Reproduction: Sound recording and reproduction is an electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording.

3. Sound Management: In the context of environmental law, sound management means to take all practicable steps to ensure that the overall management takes place in such a manner that protects human health and the environment against the adverse effects of activities, processes, products or substances.

4. Music Industry: The music industry consists of the companies and individuals that earn money by creating new songs and pieces and selling live concerts and shows, audio and video recordings, compositions and sheet music, and the organizations and associations that aid and represent music creators.

Citation - Reference

All Project Materials Inc. (2020). SOUND PRODUCTION AND REPRODUCTION MANAGEMENT IN NIGERIA MUSIC INDUSTRY. Available at: https://researchcub.info/department/paper-6988.html. [Accessed: ].

SOUND PRODUCTION AND REPRODUCTION MANAGEMENT IN NIGERIA MUSIC INDUSTRY


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Music is a general phenomenon that cuts across racial, cultural, social, educational, and economic barriers, which enhances cultural appreciation and awareness. Its symbol systems are important as letters and numbers. Music integrates mind, body, and spirit as well as provides opportunities for self-expression, bringing the inner world into the outer world of concrete reality, which in turn offers the avenue to "flow states" and peak experiences. It also creates a seamless connection between motivation, instruction, assessment, and practical application leading to "deep understanding." .Also Music makes it possible to experience processes from beginning to end, develop both independence, collaboration and thereby provide immediate feedback and opportunities for reflection. It makes it possible to use personal strengths in meaningful ways and to bring into understanding sometimes difficult abstractions through these strengths. It merges the learning of process and content thus improving academic achievement which results in enhancing test scores, attitudes, social skills, critical and creative thinking. .. Click here for more

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